As a wood worker, my first thought about old crappy screws would be to replace them. (Phillips) As a metal worker you see the mailability of brass and then proceeded to bang them back into usability. I just can't overstate how important/valuable your videos are. Basic shop practices such as these aren't shown/taught anywhere else. For myself and for all the young people who will be watching your videos in future times, I just can't thank you enough.
@@kenparkerarchtoppery9440 You mentioned the very light and thin construction and I can hear that. I have a 1963 Ramirez classical guitar which is light as a feather and every string fills the room. It’s amazingly loud, putting my Martins in the shade.
Thank you for making these times in your shop available. I doubt if I will even begin to approach your level of expertise. However, it is a pleasure to watch and listen. Again, thank you for sharing your time.
I’m so enjoying these videos. I was a student of Paul Schmidt when I was a kid. He had a D’Aquisto for a while and was close with Jimmy. That plus his books helped me develop an appreciation for these majestic instruments. These videos are so informative and inspiring
Thanks! We're all indebted to Paul for helping us understand the work of John D'Angelico and Jimmy D'Aquisto. I hope everyone gets a chance to play one of these masterpieces.
He was my hero before we met and was always generous, encouraging and open with me. I still miss him, and think about him all the time. What a unique and beautiful guy.
Actually, it's the absence of post - colorcoat scraping that we're talking about, to be clear. Jimmy told me that Jim visited right after the color on his nearly complete guitar was done, and preferred the look of the guitar with the color intact on the binding, so he asked Jimmy to leave it looking that way. Funny, but lots of changes and innovations happen in this way, kind of by accident/happenstance.
Rational for the stub you turned on the handle of the nut driver? Has to be a good reason for the process or you wouldn’t have taken the time. Gotta share the use of Wiha Phillips, years ago I pleasantly found out that the Germans still do it with care. Another joy to behold
I remember turning this 10mm nutdriver handle down so I could chuck it up in a corded electric hand drill many years ago, but I confess I can't remember why. Musta seemed like a good idea at the time.
Hi Ken, thank you many times over for your knowledge of the history of the arch top guitar, I’ve been to your lectures, the telling of the “real truth” of what makes them work and your love and review of D’Aquisto. I love it all and can’t get enough! Q-maybe I missed your answer but why did Jimmy extend the length at the 21st fret of his guitars? I never noticed iuntil Archtoppery and now see it on many of his guitars?
You're most welcome, fellow traveler! Are you asking about the number of frets? D'Angelico mostly used 20 on the early guitars, and 22 on the later ones. As far as I've seen, D'Aquisto seemed to like 22, but Jimmy was always changing and trying, so maybe there's more variation than I've seen. He built a a lot of guitars!
The wood looks so deep and the color is well I can't explain it , it's Beautiful ! I love Archtops. Thanks for the video
Ain't it grand? I love Archtops too.
As a wood worker, my first thought about old crappy screws would be to replace them. (Phillips) As a metal worker you see the mailability of brass and then proceeded to bang them back into usability. I just can't overstate how important/valuable your videos are. Basic shop practices such as these aren't shown/taught anywhere else. For myself and for all the young people who will be watching your videos in future times, I just can't thank you enough.
Thanks for your appreciation. It's my pleasure!
Wow what a sound. It’s alive!
Agreed! This is why we love guitars so much.The best of them really kick air!
@@kenparkerarchtoppery9440 You mentioned the very light and thin construction and I can hear that. I have a 1963 Ramirez classical guitar which is light as a feather and every string fills the room. It’s amazingly loud, putting my Martins in the shade.
Ain't it the truth? Responsive guitars are thrilling, and here, I hope to inspire builders to make more of them!
Thank you for making these times in your shop available. I doubt if I will even begin to approach your level of expertise. However, it is a pleasure to watch and listen. Again, thank you for sharing your time.
You are very welcome
That flame in the sides is lovely!
The Whole thing is lovely!
a beautiful historic instrument. Thank you for these videos Ken.
My pleasure!
I’m so enjoying these videos. I was a student of Paul Schmidt when I was a kid. He had a D’Aquisto for a while and was close with Jimmy. That plus his books helped me develop an appreciation for these majestic instruments. These videos are so informative and inspiring
Thanks! We're all indebted to Paul for helping us understand the work of John D'Angelico and Jimmy D'Aquisto.
I hope everyone gets a chance to play one of these masterpieces.
I like the way you touch or handle the D'Aquisto with such respect.
He was my hero before we met and was always generous, encouraging and open with me. I still miss him, and think about him all the time. What a unique and beautiful guy.
So fabulous, Ken! Wonderful to see you bringing Jimmy’s beautiful instrument to life!
Thanks, Mike! This patient didn't exactly need resuscitation, really, more like a bandaid and some makeup.
@@kenparkerarchtoppery9440 Yes, it certainly looks and sounds like a wonderful guitar. It was in excellent hands! Hope to see you again soon!
Thanks for putting out these videos Ken!
My pleasure!
Screw maintenance - I love it! I've had a few brass screws shear off in hard woods...
Ouch, me too. Kinda ruins the day, in my experience.
A great instrument that rightfully deserve the care of a great luthier
Thanks! A very cool guitar!
You think spraying The Binding overspray was Jim Hall's idea I heard somewhere it might have been
Actually, it's the absence of post - colorcoat scraping that we're talking about, to be clear.
Jimmy told me that Jim visited right after the color on his nearly complete guitar was done, and preferred the look of the guitar with the color intact on the binding, so he asked Jimmy to leave it looking that way. Funny, but lots of changes and innovations happen in this way, kind of by accident/happenstance.
Rational for the stub you turned on the handle of the nut driver? Has to be a good reason for the process or you wouldn’t have taken the time. Gotta share the use of Wiha Phillips, years ago I pleasantly found out that the Germans still do it with care. Another joy to behold
Maybe for pushing in the tuner ferrules?
I remember turning this 10mm nutdriver handle down so I could chuck it up in a corded electric hand drill many years ago, but I confess I can't remember why. Musta seemed like a good idea at the time.
Hi Ken, thank you many times over for your knowledge of the history of the arch top guitar, I’ve been to your lectures, the telling of the “real truth” of what makes them work and your love and review of D’Aquisto. I love it all and can’t get enough!
Q-maybe I missed your answer but why did Jimmy extend the length at the 21st fret of his guitars? I never noticed iuntil Archtoppery and now see it on many of his guitars?
You're most welcome, fellow traveler!
Are you asking about the number of frets? D'Angelico mostly used 20 on the early guitars, and 22 on the later ones.
As far as I've seen, D'Aquisto seemed to like 22, but Jimmy was always changing and trying, so maybe there's more variation than I've seen. He built a a lot of guitars!
I hate slotted screws so much, only watch making and vintage instruments are exceptions where I can tolerate them ;)
Plus, Stanley/Bailey handplanes, I hope!